Brian White & Justice is the Bad Company (Brian Howe years) of the Christian market. There are no fillers on this CD, just great AOR to listen to all the way through.
White’s Lamentations are not as famous as Tallis’s, but their plangent harmonies and clashing lines have an equal intensity. This impressive debut disc by Gallicantus (an all-male group from the Tenebrae choir) includes White’s motets and hymns, emphasising his response to the texts and his eloquent way with the single Hebrew letters that begin each Lamentation. The vocal balance is slightly bass-heavy, but the sound is beautifully recorded.
Eddie Higgins is a quiet musician. His playing is never flamboyant and never exceeds the boundaries of good taste. The music coming out of his piano is reflective, exuding a feeling of relaxation, contemplation, and intimate beauty…
The dismal realities, political or otherwise, that are part of our modern world naturally influence our creative voices. It is in this context that White Hills re-evaluated their approach to creating a new album. Having continually refined their sound, pushing the boundaries of psychedelic music, White Hills flipped the script on Stop Mute Defeat. Dave W. and Ego Sensation have brazenly produced an industrially-charged record that pulsates unlike anything they’ve released before.
The world of pop music was hardly ready for The Velvet Underground's first album when it appeared in the spring of 1967, but while The Velvet Underground and Nico sounded like an open challenge to conventional notions of what rock music could sound like (or what it could discuss), 1968's White Light/White Heat was a no-holds-barred frontal assault on cultural and aesthetic propriety…
Neo-soulman Matthew E. White first played with neo-Laurel Canyon songstress Flo Morrissey at a Lee Hazlewood tribute concert, where they performed "Some Velvet Morning" together. Pleased with their chemistry, they embarked on recording a collection of covers, hunkering down with White's Spacebomb collective to cover ten songs from the past and present.
Amazingly, it has been 30 years since Roy Orbison‘s 1987 television ‘comeback’ show A Black & White Night. To mark the occasion ‘Roy’s Boys’ – Alex Orbison and Roy Orbison Jnr – have gone back to the source footage and audio and re-edited, remastered and, if you are feeling fanciful, ‘re-imagined’ the television special, to create an expanded audio/visual document that will be available on CD/Blu-ray or CD/DVD in February. The concert – filmed at Cocoanut Grove in Los Angeles – was shot using seven separate cameras and there were hundreds of hours of footage that went unused and unseen. Roy’s youngest son Alex has gone back to this source material and, with the help of co-editor Luke Chalk, re-edited to reflect the correct set order as seen by those who attended the show.